Below an explanation of the Dakini of Dreams, Salgye Du Dalma.
It is further explained in Tenzin Wangyal´s book Tibetan Yoga of Dream and Sleep.
For me is this the best book TW wrote, very clear and to the point.
Its a Mother Tantra and remarkable is the remaining in one´s Natural State during the Dream.

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By:
Tenzin Wangyal / Spiritual Master of Ligmincha USA etc.

Salgye Du Dalma - 00.jpg (123.31 KiB) Viewed 1827 times

1. The Dakini, Salgye Du Dalma

The Mother Tantra / Ma Gyud, teaches that there is a Dakini who is the protector and guardian of sacred sleep. It is helpful to make a connection with her essence, which is also the nature of the practice, so that she can guide and bless the transition from unconscious to conscious sleep. Her name is Salgye Du Dalma (gsal-byed-gdos-bral-ma). This translates as "She Who Clarifies Beyond Conception."

She is the luminosity hidden inside the darkness of normal sleep.
She is formless in sleep practice itself, but as we are falling asleep she is visualized as a luminous sphere of light, a tiglé. Light is visualized, rather than a form like the syllables used in dream yoga, because we are working on the level of energy, beyond form.

We are trying to dissolve all distinctions such as inside and outside, self and other.

When visualizing a form, it is the habit of the mind to think of that form as something other than itself, and we must go beyond dualism. The dakini is the representation of the clear light. She is what we already are in our pure state: clear and luminous. We become her in sleep practice.

When we develop a relationship with Salgye Du Dalma, we connect to our own deepest nature. We can further this connection by remembering her as
much as possible. During the day she can be visualized in samboghakaya* form: pure white, luminous, and beautiful. Her translucent body is made wholly of light. In her right hand she holds a curved knife, and in her left hand a bowl made from the top of a skull. She abides in the heart center, sitting upon a white moon disc, which rests on a golden sun disk, which in turn rests upon a beautiful blue, four-petaled lotus. As in guru yoga, imagine yourself dissolving into her, and she into you, mixing your essence until it is one.

Wherever you are, she is with you, residing in your heart. When you eat, offer her food. When you drink, offer her what you drink. You can talk to her. If you are in a space in which you can listen, let her talk to you. This does not mean you should go crazy, but you can use your imagination. If you have read books on dharma and listened to talks on these topics, imagine her giving you the teachings that you already know. Let her remind you to remain in presence, to cut through ignorance, to act compassionately, to be mindful, and to resist distractions.

Your teacher may not always be available, nor your friends, but the dakini is. Make her your constant companion and the guide of your practice.
You will find that eventually the communication will start to feel real; she will embody your own understanding of the dharma and reflect it back to you.

When you remember her presence, the room you are in will seem more luminous and your mind will become lucid; she is teaching you that the luminosity and lucidity you experience is the clear light that you really are.

Train yourself so that even feelings of disconnection and the arising of negative emotions automatically remind you of her; then confusion and emotional snares will serve to bring you back to awareness like the bell of a temple that marks the beginning of practice.

In this relationship with the dakini sounds too foreign or fanciful, you may wish to psychologize it. That is all right. You can think of her as a separate
being or as a symbol that you use to guide your intention and your mind. In either case, devotion and consistency are powerful assets on the spiritual
journey. You may also do this practice with your yidam,

if you do yidam practice, or with any deity or enlightened being; it is your efforts that make a difference in your practice, not the form. But it is also good to recognize that Salgye Du Dalma is especially associated with this practice in the Mother Tantra. There is a long history of practitioners working with her form and her energy, and making a connection with the power of the lineage can be a great support.

Imagination is very powerful, strong enough to bind one to the sufferings of samsara for an entire life, and strong enough to make the dialog with the dakini real. Often practitioners act toward the dharma as if it is rigid, but it is not.

The dharma is flexible and the mind should be flexible with it. It is your responsibility to find how to use the dharma to support your realization. Rather than imagining how the day will go tomorrow, or the fight you had with the boss, or the evening ahead with your partner, it may be more helpful to create the presence of this beautiful dakini who embodies the highest goal of practice.

The important point is to develop the powerful intention needed to accomplish the practice and a strong relationship to your true nature, which the dakini represents. As often as possible, pray to her for the sleep of clear light. Your intention will be strengthened each time you do.

Ultimately, you are to become one with the dakini, which does not mean assuming her form as in tantric practice. It means remaining in the Nature of Mind, being rigpa in every moment. Remaining in the natural state is both the best preliminary and the best practice.

The Tibetan text is from pages 962-963 of the edition of the Four Cycles of the Scriptural Tradition of the Aural Tradition of Zhang Zhung, ཞང་ཞུང་སྙན་རྒྱུད་བཀའ་རྒྱུད་སྐོར་བཞི་, published at Triten Norbutse, in 2002. This translation is by Kurt Keutzer with grateful acknowledgement to the prior translation of a related text byJohn Myrdhin Reynolds found on pages 364-365 in his book The Oral Tradition from Zhang-Zhung, Vajra Publications, 2005.

རྒྱལ་པོ་ཉི་པང་སད་ཀྱི་མཆོད་བསྐུལ་བཞུགས།Invocation and Offering to Gyelpo Nyipangsé

Kye! Among the powerful loyal attendants of the Sugatas and the Shenrabs,
Those who have promised to act as Guardians of the Aural Transmission Lineage,
Is the king of the Tsen spirits, Werro Nyipangsé: ( see also: viewtopic.php?f=78&t=27472 )
You are the king of all the eight classes of gods and demons.
[Your] attire displays a variety of magical apparitions.
[You are] the magical sovereign over the worldly realm.

The five classes of great kings, Nyipangsé and Dapangsé,
Zhapangsé and Werro Gyalpo,
Namkha Gyalpo and Yacho Gyalpo,
And Gyalpo Chenpo Tsugphudchan,
Together with the retinues of Gyalchen Nyipangsé,
By the blessings of the Sugatas and lamas,
And by the meditative absorbtion of us Shen practitioners,
By the blessings of the power of truth,
Please accept this command-torma which we offer,
A torma of delightful sensual qualities, and
Guard well the teachings of the Yungdrung Bön!

Be the friend and helper of us Shen practitioners!
Tong-gyung Thuchen of Zhangzhung,
The lineage of Lachen Drenpa Namkha,
As well as Gurub Nangzher Lodpo,
And the other lamas of the rigzin lineage,
And in the presence of our root lama:
In accordance with whatever pledges and promises that have been made,
By way of guarding the Precepts of the Aural Transmission Bön ,
Become the friends and helpers of us Shen practitioners!
Guard well the teachings of the Yungdrung Bön!
And do not cause troubles, malevolence, or obstacles!

Without neglecting the commands or your promises,
Please accept this torma possessing delightful sensual qualities!
Having made restitution in accordance with your desires,
May you have thoughts of loving kindness towards us,
And in accordance with your previous promises,
May you zealously accomplish the task of guarding the teachings!

Sherab Chamma (Loving Mother) is known as the Wisdom Loving Mother. She is the Mother of all Enlightened Ones or Buddhas. The Wisdom Loving Mother’s devotion to acts of love over many lifetimes transformed her into a goddess whose unconditional loving energy compassionately protects all beings. She embodies the divine feminine energy of boundless love and is the source of all compassion. By Her blessings and energy she eliminates all karmic obstacles, thus healing, blessing and guiding us wherever we are.

Through recitation of her secret mantra, invocations, and prayers, she expands our awareness and clears up negative karma, bringing peace and harmony. These practices provide healing energy which is of special benefit for resolving imbalances in both physical and mental health. The invocation of her energy manifests in eight different peaceful ways to help overcome eight different fears and challenges such as struggles with enemies, negative forces, illness, sadness, fear of the unknown, and death. Meditating upon her transforms our fears into self-arising wisdom so that we are able to creatively embrace the many challenges of life.

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By:
Bodhgaya

In the Bön pantheon, Chamma is considered one of the "4 principal sugatas," also known as the 4 peaceful deities, who stimulate and superintend the spiritual evolution of the human race.

In the Zhangzhung language, Sherab Chamma is known as Satrig Ersang, sa trig meaning "wisdom." In the Tazig language of ancient Central Asia she is Ardvishura Anahita. In the Srid pa mdzod phug, the Bonpo Abhidharma text dealing with cosmogony, theogony, and cosmology, with an appended commentary by Dranpa Namkha of Zhanzhung.

She is called "queen of the waters" because of her origin: As the winds of karma blew across the vast primeval ocean, moving its waters, a bubble the size of a pavilion rose up to the surface, and at its center an egg of blue light became visible. When this egg burst open, a turquoise-blue woman appeared from it. The creator god Sangpo Bumtri was overwhelmed by her beauty and radiance. He called her "queen of the waters" and coupled with her.

The Tibetan text is from pages 962-963 of the edition of the Four Cycles of the Scriptural Tradition of the Aural Tradition of Zhang Zhung, ཞང་ཞུང་སྙན་རྒྱུད་བཀའ་རྒྱུད་སྐོར་བཞི་, published at Triten Norbutse, in 2002. This translation is by Kurt Keutzer with grateful acknowledgement to the prior translation of a related text byJohn Myrdhin Reynolds found on pages 364-365 in his book The Oral Tradition from Zhang-Zhung, Vajra Publications, 2005.

རྒྱལ་པོ་ཉི་པང་སད་ཀྱི་མཆོད་བསྐུལ་བཞུགས།Invocation and Offering to Gyelpo Nyipangsé

Kye! Among the powerful loyal attendants of the Sugatas and the Shenrabs,
Those who have promised to act as Guardians of the Aural Transmission Lineage,
Is the king of the Tsen spirits, Werro Nyipangsé: ( see also: viewtopic.php?f=78&t=27472 )
You are the king of all the eight classes of gods and demons.
[Your] attire displays a variety of magical apparitions.
[You are] the magical sovereign over the worldly realm.

The five classes of great kings, Nyipangsé and Dapangsé,
Zhapangsé and Werro Gyalpo,
Namkha Gyalpo and Yacho Gyalpo,
And Gyalpo Chenpo Tsugphudchan,
Together with the retinues of Gyalchen Nyipangsé,
By the blessings of the Sugatas and lamas,
And by the meditative absorbtion of us Shen practitioners,
By the blessings of the power of truth,
Please accept this command-torma which we offer,
A torma of delightful sensual qualities, and
Guard well the teachings of the Yungdrung Bön!

Be the friend and helper of us Shen practitioners!
Tong-gyung Thuchen of Zhangzhung,
The lineage of Lachen Drenpa Namkha,
As well as Gurub Nangzher Lodpo,
And the other lamas of the rigzin lineage,
And in the presence of our root lama:
In accordance with whatever pledges and promises that have been made,
By way of guarding the Precepts of the Aural Transmission Bön ,
Become the friends and helpers of us Shen practitioners!
Guard well the teachings of the Yungdrung Bön!
And do not cause troubles, malevolence, or obstacles!

Without neglecting the commands or your promises,
Please accept this torma possessing delightful sensual qualities!
Having made restitution in accordance with your desires,
May you have thoughts of loving kindness towards us,
And in accordance with your previous promises,
May you zealously accomplish the task of guarding the teachings!

Because the Zhang-zhung Nyän-gyüd is a Dzogchen transmission, unlike Tantric practices, there is no empowerment ceremony for entering into it. Rather, in terms of Dzogchen, the individual enters into the practice by way of receiving a direct introduction (rig-pa ngo-sprod) from a qualified master of the tradition. However, there is a Tantric practice of transformation that is associated with it and the transmission of this latter lineage more or less exactly parallels that of the Zhang-zhung Nyän-gyüd. This is the practice for the meditation deity known as Zhang-zhung Meri,

In fact, Zhang-zhung Meri was the first empowerment bestowed by Yongdzin Lopon Tenzing Namdak Rinpoche on his second visit to the West and his first visit to the United States. This occured in Coos Bay, Oregon, in 1989. It was at this time that I personally first received this empowerment. Although previously in 1978, Yongdzin Rinpoche bestowed it for the first time at Menri monastery at Dolanji in India upon a group of Western students from Italy at the requrest of their master Namkhai Norbu Rinpoche.

Although the principal function of Zhang-zhung Meri for the Dzogchen practitioner is that of protection, according Yongdzin Rinpoche, nevertheless, Zhang-zhung Meri is not a protective Guardian (srung-ma) spirit, but a Yidam Lha, or meditation deity.

Moreover, his sadhana may also be practiced independently as a purely Tantric method, apart from any connection with Dzogchen. A Yidam is a visible manifestation of the compassion and enlightened awareness of the Buddha, particularly in wrathful form in order transform negative energies and subdue evil spirits.

Every Tantra cycle has such a principal deity known as a Yidam, and by practicing the sadhana, or process of transformation and realization of that deity, the practitioner establishes a special bond or connection with it which is known as samaya (dam-tshig).

Through visualization and meditation upon the archetypal form of the Yidam, the practitioner is able to invoke and realize within oneself the powers, capacities, and wisdoms traditionally associated with that particular Yidam. This overwhelming numinous presence, both benign and protective, is transcendent; it is not a worldly god or deity which is still part of conditioned existence, the cycle of death and rebirth known as Samsara. It is an emanation of enlightened awareness and compassion from a higher spiritual dimension beyond Samsara. The visualization of the Yidam serves to invoke and call down into oneself the blessings, or spiritual energies of this deity, and serves to focus and concentrate this energy like a lens focusing sunlight..

According to the Lower Tantras (phyi rgyud), the source of these spiritual energies that are invoked is a higher spiritual dimension of being, which is the collective enlightened awareness of all the Buddhas of the past, present, and future.

However, according to the Higher Tantras (nang rgyud), these energies are invoked out of the potential for Buddha enlightenment of one’s own Nature of Mind. By meditating on the Yidam, one takes the goal, the visible manifestion of enlightenment, and transforms that into the actual path of practice in terms of deification or visualizing oneself as the Yidam.

This process vastly accelerates the process of realizing liberation and enlightenment when compared to the methods of the Sutra system. The initial visualization of the Yidam emerges out the the state of pure potentiality, Shunyata,, which is paradoxically beyond the dualism of existence and non-existence. At the conclusion of sadhana practice, the visualization is again dissolved back into this state of emptiness.

Although the ultimate aim of meditating upon the Yidam is to realize those enlightened qualities associated with it, that is to say, to realize Buddha enlightenment and liberation from suffering in Samsara, by invoking the Yidam and engaging in the ritual activities associated with it, one may also realize various desirable worldly benefits. These two goals, the spiritual and the worldly, do not exclude or contradict each other. One must have at hand the actual means, including long life, in order to practice sufficiently in this present life.

On the other hand, Guardians (srung-ma) were in origin usually worldly gods and spirits who were in the past subdued by enlightened beings such as Tönpa Shenrab and placed under oaths to henceforth protect the teachings of Bön and its practitioners.

Such was also the case when Gyerpung Nangzher Lödpo who subdued the Deva king Nyipangse and his consort Mänmo, placing them under oaths to henceforth protect the teachings of Zhang-zhung Nyän-gyüd. In meditation practice, one may transform oneself into a Yidam, identiying oneself totally with it, whereas Guardians are evoked into visible appearance in front of oneself.

They are then presented with puja offerings and charged to remember their vows made previously to protect Bön and its practitioners. Therefore, this is a process of reciprocity or exchange of energies between our human dimension of existence and some other realm of being.

These spirits are given energy in the form of puja offerings and then the practitioners can expect something in return in terms of the activites of these spirits.

At Tashi Menri Monastery in Dolanji, India, the 22nd-29th of the 6th Tibetan month (Western date August 4th-10th 2018), is the time for the practice of Shenrap Nampar Gyalwa.

This is the wrathful form of the founder of the Yungdrung Bön religious tradition, the enlightened Lord Tönpa Shenrap Miwoché. In order to protect the construction of a temple, he spontaneously manifested as Nampar Gyalwa, the Completely Victorious One.

As one of the 9 foundational practices in the Yungdrung Bön tradition, practitioners will recite the mantra of Nampar Gyalwa, known as the 100-syllable mantra, 100,000 times while imagining the purification of all negativity of the 3 times including every action of body, speech, and mind arising from anger, greed, jealousy, pride, and ignorance.

By Jef Watt:

Nampar Gyalwa

can have several different ways of appearing in art. Typically he is either blue, or green in colour, peaceful in appearance with one face and two arms. The right hand is generally raised to the side above the level of the shoulder with the hand flat and the palm facing forward as if in a saluting gesture. The left hand is typically resting with the heel of the palm on the knee and the fingers extended and slightly raised. He sits in a crossed leg posture atop a flower blossom and throne in front of a palace complex within a walled courtyard.

The painted compositions of Nampar Gyalwa are often formulaic and predictable.

The 4 monastic sons of Tönpa Shenrab stand to the right and left sides of the throne.

At the top center the 4 Transcendent Lords are often depicted.
4 wrathful deities are arranged either in a row or in the four corners of the composition.

They are:
- Zowo Ugu,
- Zema Ugu,
- Rocho Degu
- Hrompo Tsegu

They are each wrathful in appearance, blue in colour, with nine heads and 18 arms, in a standing posture surrounded by flames. In the upper half of the composition are 2 Naga Kings:

- Lugyal Tsugna Rinchen (yellow)
- Lugyal Jogpo (blue).

Also in the upper composition are two gods:
- Lhawang Gyajin (white)
- Dopa Gugyur (yellow).

The nagas and gods, depending on the size of the composition, may or may not have surrounding retinue figures (twelve each).

Beneath the throne is the Chinese King Kongtse with retinue.
At the bottom center is the 'Word Protector' Kasrung Lhachen Chenlha Miggu. He is maroon in colour, wrathful with 3 faces and 6 arms, riding a boar with nine heads, accompanied by 4 retinue figures, each with a different animal face.

The story of Tönpa Shenrab as Nampar Gyalwa (Tibetan: rnam par rgyal ba) is described in detail in chapter 50 of the Ziji, a 12 volume, 61 chapter biography of Tonpa Shenrab.

The essential story concerns a Chinese king named Kongtse Trulkyi Gyalpo who attempted to build a temple on the great ocean west of Olmo Lungring. His intention was to acquire merit for the next life. The king told no one except the spirits and daemons of the ocean.

Due to a misunderstanding between the King, his wife and the spirits and demons, the daemons destroyed the half built temple. Deeply upset the King prayed to Tönpa Shenrab who then appeared in the form of Complete Victory (Nampar Gyalwa), blue in colour with an angry expression, one face and 2 hands.

The right hand is held up in the gesture of Complete Victory and the left placed on the knee. Behind Tönpa was a special fierce throne back (Tib.: gyab yol) with a lion at the bottom eating a human figure and a dragon above eating a naga serpent spirit, a sea monster above that, and topped with a Horned Eagle.

Tönpa also emanated 4 wrathful multi-headed deities each standing in the 4 directions. The daemons were defeated and the temple was completed and named the White-black Shimmering Temple (Tib.: gsas khang dkar nag bkra gsal).

The chief of the daemons became the protector and the temple became a library for the teachings of Tönpa Shenrab.

The Father Tantras are not classifed like in the Nyingma tradition. They form a basic group which is collectively known as the “5 Supreme Citadels” (gSas mkhar mchog lnga) and count the following Yidams :

Each Yidam is depicted in his wrathful form and appears in union with his consort. The central one is Tsochok Khagying. Whatever Yidam you practice, you are gradually reaching the four levels of Knowledge Holders of Vidyadharas. For reasons which have been discussed by S.G. Karmay somewhere in his research works, the practice of Lhagö Thokpa is not really widespread.

Father Tantras are mostly concerned with the Development Stage (bskyed rim), they also have Perfection Stage (rdzogs rim) instructions but not as developed as in the Magyü. For this reason the Tsalung are quite limited.

Why are people attracted to a given Yidam? It depends on many things. The main reason is the clanic affinity (rigs) one has when receiving some initiation like the Zhitros. If you throw your flower or pebble on the central figure, then you are of course karmically connected with this deity. Remember that your eyes are folded at the time, so it’s really karma that decides, not you.

Welchen Gekhö: God of the Mount Tise (Kailash) in Zhang Zhung with 9 heads, God of the yearly cycle.
Walchen Gecko is the emanation of qualities of Tönpa Shenrab Miwoche.
The eagle Khyung flies above his head with a swastika. Yundrung Bön related...

Fearsome in appearance with nine faces, eighteen hands and four legs, he is blue in colour, each face has three eyes and a gaping mouth with bared fangs. The faces extend upward with three white faces on the right, the middle blue with the uppermost that of a Garuda, and on the left three red. Above that, yellow hair swirls upward like flame. The eighteen hands hold weapons and objects of various kinds. A pair of Garuda wings is unfurled behind. The consort Logbar Tsame embraces her consort. Red in colour with three faces, yellow, white and red, she has six hands and two legs. Atop two lhu daemons, a sun and moon disc above a multi-coloured lotus blossom resting on a throne seat supported by various animals the horrific couple stands surrounded by the flames of wisdom fire.

For a more complete explanation and identification of the retinue figures see The Bon Religion of Tibet by Per Kvaerne. Serindia Publications: London, 1995. Plate #30 pages 98-99.

==============

"WRATHFUL DEITIES…….

Their task is to fight against ignorance and the enemies of the teaching……
5 YIDAMS: tutelary deities who govern the tantric rituals of Mother Tantra and Father Tantra:….

A wrathful deity in the Bön canon, depicted with 18 heads and nine arms, his topmost head being the head of a Garuda /Kyung, and the remainder being heads of demons (srin). He is often depicted with his consort glog 'bar tsa med."….http://dictionary.thlib.org

The faces extend upward with 3 white faces on the right, the middle blue with the uppermost that of a Garuda, and on the left 3 red. Above that, yellow hair swirls upward like flame.

The 18 hands hold weapons and objects of various kinds. A pair of Garuda wings is unfurled behind. The consort Logbar Tsame embraces her consort. Red in colour with three faces, yellow, white and red, she has 6 hands and 2 legs.

At the top 2 lhu daemons, a sun and moon disc above a multi-coloured lotus blossom resting on a throne seat supported by various animals the horrific couple stands surrounded by the flames of wisdom fire…….At the top center is the primordial Enlightened One, Kuntu Zangpo, with five Bon teachers below.

"an important god, Balchen Geko, who is has 9 heads and 18 arms,…..The eagle Khyung flies above his head with a swastika….….Philippe Cornu-Tibetan Astrology.

Walchen Gecko….(belongs to the 5 main yidams of the Pa Gyud, Fathertantra)…..Walchen Gecko is the emanation of qualities of Tönpa Shenrab Miwoche……Represents quality-aspect…….http://bonpo-arts.com/walchen_gecko.html

The generating of the visualization of the meditation deity Zhang¬-zhung Meri by the mind of the practitioner of sadhana, or what is generally known as the Generation Process, or Kyerim (bskyed-rim), is found in both brief and expanded forms in the texts. The extant thangkas of Meri do not necessarily agree in every detail with the descriptions found in these texts. According to the text of the intermediate length sadhana, Meri originated thus: “From the yellow fires of the golden mountain which signifies gnosis or wisdom (ye-shes) and from the emanations of billowing bluish smoke, turquoise in color, which signify compassion (thugs-rje), there arises a terrifying gigantic form, huge of body and limb.” Thus, the manifesta¬tion of Gekhöd Meri originates from the unification of ye-shes (primal awareness, gnosis, or wisdom), symbolized by the raging fires of the golden volcano, and of thugs-rje (compassion, or energy), symbolized by the turquoise smoke issuing from this volcano. Accordingly, in the Bönpo tradition, Discriminating Wisdom and Universal Compassion are the two coefficients of the enlightenment of a Buddha. In the sadhana text, the colossal image of Meri appears suddenly appesars in space consequent upon the sounding the invocative syllable BSWO (pronounced “swo…”). In old ritual texts this syllable was employed to summon the presence of the deities. Nevertheless, the proper bija mantra, or reddsih-golden seed syllable of Meri, is HRI, which is sounded when transforming oneself into Meri. Moreover, one particularity in the Bönpo Higher Tantras, in terms of the self-generation process of visualization (bdag-bskyed), is that that the practitioner first transforms oneself into the peaceful form associated with the meditation deity, in this case, the Shen Sangwa Düpa (gshen gsang-ba ‘dus-pa), before transforming oneself into the wrathful aspect of the deity. This peaceful figure then melts into light and becomes the golden seed-syllable HRI, which in turn instantly transforms into the awe-inspiring form of Walchen Gekhöd Meri. Therefore, the peaceful and the wrathful forms of the meditation deity are inseparable.

The colour of Meri's body, as well as his armour, is golden. Meri is closely connected with that metal, as well as with the element fire. In ancient times Zhang-zhung, or Western Tibet, was well known as a rich source of gold. This is cited in the Geography of the Greek writer Ptolemy, for example. Gigantic in body, Meri has nine heads, eighteen arms, and six legs. His right face is white in colour and he wears a helmet of molten bronze on this head, while his left face is red and on this head he wears a copper helmet. The middle face is dark azure blue like the storm clouds and on this head he wears an iron helmet. These three faces are all wrathful in aspect, like that of a terrifying, cannibalistic Rakshasa demons (srin-po). In Tantric symbolism, the colours of these three faces represent the colours of the three principal psychic channels in the middle of the body of the practitioner, namely, white on the right, red on the left, and blue for the central channel. Then, above these three principal heads, there are stacked six auxilliary heads in the aspect of animals and birds. On the right there are the reddish-yellow garuda (khyung), the blue raven (khwa), and the yellow owl ('ug-pa), and on the left there are the striped tiger (stag), the ash-grey elephant (glang-chen), and the dark yellow bear (dred-mo). The usual form of Gekhöd in terms of his iconography is also multi-headed and multi-limbed, but he does not wear armour or helmets. Above Meri's several heads, there soars a great golden Garuda bird (bya khyung) with turquoise eyes and with talons and beak of iron. Gekhöd, as well as the country of Zhang-zhung itself, has always been closely associated with the Garuda, which signifies the element fire, as wello as the lightning flashing across the heavens. According to the myth, one of' the first emanations of Gekhöd in our world was that of the Garuda. In addition, his throat, hands, joints, and so on, are decorated with white striped snakes because Gekhöd-Meri, like the Garuda, has power over the Nagas (klu), or serpentine water spirits, which are chthonic in nature.

The first two of his eighteen arms are held before his chest. In his right hands, he holds the hook of compassion to attract and rescue beings, a lasso of snakes to guide beings, a copper staff or walking stick, an axe with a garuda head, a spear with a banner attached, a bow and arrow made of meteorite iron, a golden flaming tso (btswo), or magical missile (resembling a golden pyramid surrounded by flames), a crystal hammer, and flayed human skins belonging to evil doers, both male and female (these actually being the flayed skins of Theurong spirits). In his left hands, Meri holds a golden battle-axe with an enlarged blade, a noose of water, a noose of a mass of fire, a noose of wind, a miniature image of Mount Meru (ri-rab), a container of boiling poisonous wine, a white conch shell, a hammer made of meteorite iron, and a white antelope horn made of crystal. As arm ornaments and wrist ornaments, he also wears yellow striped snakes

As said already, he wears armour of gold, but his upper body is partly wrapped in the flayed skin of a Düd (bdud) demon, and also the flayed back¬skins of Gyalpo (rgyal-po), Gongpo ('gong-po), and Damsi (dam-sri) evil spirits. About his lower body he wears a skirt made of the flayed skin of a Chüd demoness and also the flayed skin of a northern nomad herdsman who was an evil-doer. All of these are tied together with a belt of one thousand black snakes. He wears an apron of lion and tiger skins, as well as a bandelier of eighty-one dried skulls and a rosary of lightning bolts across his chest. His six legs are stiding forward aggressively like a champion warrior (gyad) and his feet are adorned with red striped snakes. [9]

While in the heavens, he rides upon the swiftly soaring Garuda bird which moves like light¬ning, in the lower atmosphere he rides upon a nine-headed camel which is a king of the winds, and on the surface of the earth he rides upon a reddish-brown curly-haired billy goat. These creatures are also visualized as above his throne and as forming part of his seat. When he resides among his retinue, amidst the thunderous waves of a vast sea of blood, his immense form striding majestically about on top of a throne made of nine gigantic human skulls, supported by nine tiger skulls. Before him there are arrayed the five races of the worldly Mamo goddesses. These Mamos (Skt. matrika), all of them being female witches who are black in colour, are among the fiercest of all spirit entities inhabiting the wilds of nature. These Mamo goddesses have promised to obey and to do his bidding, both in their nocturnal gatherings and in general, having taken these vows before the sage Sangwa Düpa in a previous age.

In the center of a typical thangka, there will be found the majestic figure of Zhang-zhung Meri striding forward with the great golden Garuda soaring over his many heads. Moreover, in most thangkas the three principal spiritual aspects of Gekhod Meri are depicted, which are known as the Three Lord Protectors, or Gönpo Namsum (mgon-po rnam gsum). They are as follows:

1. The tutelary wisdom deity Atimuwer (a-ti mu-wer ye-shes yi-dam lha) is depicted as sitting in the sky above the various heads of the mountainous figure of Gekhöd-Meri and the soaring Garuda. He is peaceful in aspect, white in color, sitting in meditation posture, and attired as a great prince in rich silks and costly jewels. Even though he has all the symbolic ornaments of the Sambhogakaya, nevertheless, he is said to represent the Dharmakaya manifestation of Gekhöd-Meri. His visualization is generated from sounding the white seed-syllable A.

This is not the Tigress as mentioned as the Avatara of Guru Rinpoche as explaiened here:viewtopic.php?f=40&t=29675&start=20That tigress might be of another origen , but can never be synchronized as Atimuwer according Yungdrung Bön.

2. Kuji Mangke (ku-byi mang-ke rdzu-'phrul rdzogs-pa'i sku) is said to represent the Sambhogakaya (rdzogs-sku) manifestation of Gekhöd-Meri. According to Yongdzin Rinpoche, there exist two figures with this name who should not be confused. Dzutrul Kuji Mangke, “the magical apparition Kuji Mangke,” is the Sambhogakaya manifestation, whereas Lha-bu Kuji Mangke, “the son of the gods,” according to the Srid-pa mdzod-phug, was a Rishi or sage that lived in Trayatrimsha, the realm of the Thirty-¬three Gods on the summit of Mount Meru. In Bönpo thangkas, this magical apparition Kuji Mangke, also attired as a great prince in rich silks and jewels, being turquoise or bluish-green in colour, is shown sitting in union with his consort inside the heart center of Meri. His visualization is generated with the bluish-green seed-syllable OM.

3. Walchen Gekhöd Meri (dbal-chen ge-khod me-ri), who represents the Nirmanakaya (sprul-sku) aspect of the Deity, the exceedingly wrathful principal figure (gtso-bo) in the center of the thangka. He is generated from the reddish-golden seed-syllable HRI.

Meri may be visualized as a solitary, heroic, warrior figure, without embracing a consort (yum). However, in many thangkas of Meri, he is shown with two consorts standing below him on either side. On his right is his Liberation Consort, Drol-yum Namkhai Ödlayma (sgrol-yum nam-mkha’i ‘od-slas-ma), whose body color is dark red. She is naked, holding a phurpa, or three-bladed dagger, in her right hand and she rides majestically upon a white tortoise. On his left is his Sexual Union Consort, Jyor-yum Nelay Sidpai Gyalmo (sbyor-yum ne-slas srid-pa'i rgyal-mo), whose body color is dark yellow. She also is naked and holds a kapala filled with blood, offering it up to her lord’s mouth, while at times she may actually engage in sexual intercourse with him. She rides upon a black bear. These two goddesses are sometimes depicted in dance position, indicationg they represent active manifestatioins of female energy pertaining to liberation (or slaying) and sexual union respectively.

Although the retinue of Gekhöd Meri is not indicated in the short sadhana texts, the detailed accounts are found elsewhere in various texts providing the descriptions of the visualizations (mngon-rtogs) for the Kyerim, or generation process.. Most immediately, this retinue consists of the Ten Krodhas, or wrathful deities (khro-bo bcu). In many thangkas, five of these Krodhas are shown to the right of Meri and five to his left. Each Krodha has his consort in sexual union with him (yab-yum) and two acolytes positioned on either side accompanying them. These latter are known as summoners, being animal-headed males, and and slayers, who are usually bird-headed females. These wrathful deities are listed below, together with their direction in the mandala and their color:

(1) In the east direction, there is Walgyi Gyalpo Me-lha-gyung, white in colour, with his consort Satänma, and together with a lion-headed summoner and a vulture-headed slayer.

(2) In the southeast direction, there is Kyelchen Muwer, light blue in colour, with his consort Gyerting Tsamed, and together with a bear-headed summoner and an owl-headed slayer.

(3) In the south direction, there is Sumphüd Gyalpo, dark turquoise in colour, with his consort Kyedjyedma, and together with a tiger-headed summoner and a hoopoe-headed slayer.

(4) In the southwest direction, there is Ligchen Muwer, bluish-red in colour, with his consort Gyernyän Tsamed, and together with a bear-headed summoner and a hoopoe-headed slayer.

(5) In the west direction, there is Kulha Yojya, red in colour, with his consort Minjyedma, and together with a leopard-headed summoner and a crow-headed slayer.

(6) In the northwest direction, there is Pungchen Muwer, reddish-green in colour, with his consort Ting-gyung Tsamed, and together with an elephant-headed summoner and a raven-headed slayer.

(7) In the north direction, there is Kulha Muwer, yellowish-green in colour, with his consort Degjyedma, and together with a wild yak-headed summoner and an eagle-headed slayer.

(8) In the northeast direction, there is Sidpa Muwer, whitish-green in colour, with his consort Ringnyän Tsamed, and together with a cat-headed summoner and an owl-headed slayer.

(9) In the direction above, there is Pühay Dung-gyung, blue in colour, with his consort Shugdrolma, and together with a dragon-headed summoner and a garuda-headed slayer.

(10) In the direction below, there is Kulha Traphüd, dark yellow in colour, with his consort Södjyedma, and together with a wild boar-headed summoner and a she wolf-headed slayer.[10]

Each of these wrathful deities has three heads, six arms, and four legs.

Outside of this there is a circle of Twelve Female Messengers (pho-nya-ma bcu-gnyis), who carry out the commands of the principal deity Zhang-zhung Meri. Then there are Four Female Generals (dmag-dpon-ma bzhi), attired in armour and riding upon various animals. Next there may be the Female Guardians of the Four Lakes (mtsho bzhi srung-ma), also attired in armour and helmets. Finally there are the Female Guardians of the Four Rivers (chu bzhi srung-ma), variously attired, guarding the Brahmaputra river in the east, the Sita river in the north, the Indus river in the west, and the Ganges river in the south respectively.

Beyond their circle in the mandala, there are the Four Great Champion Gate-keepers (sgo-ba gyad-chen bzhi) in the four directions, listed as follows:

(1) In the east, there is a lion-headed man, white in colour, riding on a lion and holding a three-pointed crystal staff,

(2) In the south, there is a makara-headed man, blue in colour, riding on a makara sea-monster and holding a flaming sword,

(3) In the west, there is a wild boar-headed man, red in colour, riding on a red wild boar and brandishing a battle-axe of meteorite iron in the sky, and

(4) In the north, there is a wild yak-headed man, black in colour, riding on a yellowish-white wild yak and holding a bow and arrow.

In some thangkas, below the row of Twelve Female Messengers, there is a row of Guardians (srung-ma), or Bön Protectors (bon skyong). Among their number are Nyipangse (nyi-pang-sad) and Mänmo (sman-mo), the two special Guardians of the Zhang-zhung Nyän-gyud teachings and its lineage. It is said that at one time Gyerpungpa ascended through the air to the Deva realm of Wewa Dargub (dbe-ba dar-gub) at the southwest corner of the cosmic mountain of Sumeru (Mt. Meru), lying at the center of the world, and there subdued the Deva king Nyipangse (nyi-pang-sad) and the female deity, Mänmo (sman-mo). In Bönpo thangkas, the guardian Nyipangse is depicted as a warrior prince, white in color, mounted on a white horse, wearing white robes and a white turbin, and carrying a staff of crystal. Mänmo is shown as a great queen dressed in white, riding on a mule. In the Buddhist tradition, Nyipangse became known as Tsangpo Karpo (tshangs-po dkar-po), “the White Brahma,” and is regarded as a Guardian and Dharma Protector in the various schools of Tibetan Buddhism and even of the Tibetan Government. Elsewhere, Mänmo is regarded as an emanation of the Queen of Heaven, Namchyi Gung-gyal (gnam-phyi gung-rgyal). The great master of the Zhang-zhung tradition, Nyammed Sherab Gyaltsän, who re-established the foundation of Menri monastery in the 15th centrury, composed a practice text for the invoking of their aid on behalf of practitioners. [

The Mantra Recitation for Meri

The bija-mantra, or seed syllable, for Gekhöd Meri is the reddish-yellow, or golden coloured syllable HRI, from which the visualization of the deity is generated after the peaceful aspect of Sangwa Düpa dissolves into light. The mantra given below revolves around this bija syllable in his heart center as a mantramala, or rosary of mantras (sngags-phreng). The recitation of the mantra is indicated in the text as being the daily practice for accumulating the proper enumerations of the mantra recitation for Meri practice. This mantra is not in Sanskrit, but in the Zhang-zhung language, and is as follows in pronunciation:

LIG-MIN TSAR GYI HOR CHA RAM

KHYIM DUR PHOG-SE PUNG-SE RAM

GE-KHÖD PONG-SE RAM

U-RAM KU-RAM YE-RAM HRI RAM RAM!

And in terms of the transliteration, it reads as follows:

Lig-min tshar gyi hor cha ram/

Khyim ‘dur phogs-se spungs-se ram/

Ge-khod spongs-se ram/

U-ram ku-ram ye-ram hri ram ram! //

The last line contains the root mantra of Gekhöd-Meri, where the syllable HRI is his bija-mantra and RAM is the mantra of the element fire. U-RAM represents the Wisdom Aspect of Meri (ye-shes kyi me-ri), this signifying the Dharma¬kaya which is Atimuwer. The power of this mantra consumes in flames the poisonous passion of confusion. KU-RAM represents the Magical Apparition Aspect of Meri (rdzu-'phrul gyi me-ri), this signifying his Sambhogakaya which is Kuji Mangke. This mantric power consumes in flames the poisonous passion of greed. YE-RAM represents the Compassion Aspect of Meri (thugs-rje'i me-ri), this signifying his Nirmanakaya which is Walchen Gekhöd himself. By this mantric power the poisonous passion of anger is consumed in flames. These three aspects of Meri are also known as the Me-ri rnam gsum, “the three aspects of Meri,” and their power destroys the three principal poisons, or negative emotions, or kleshas, that afflict and defile the mind of the individual practitioner, namely, confusion, desire, and anger Although the liturgy for the intermediate length sadhana does not provide the meaning of the full form of the mantra, this is found in another text entitled Ge-khod sngags sgrub, "the Mantra Sadhana of Gekhod". [12] Here the Zhang-zhung terms are translated into Tibetan, and in turn, we can render them into English below, as follows:

LIG-MIN -in the past, present, and future times,

TSHAR GYI -all of them (that is, the kleshas, or negative defiling emotions, or passions),

HOR CHA RAM -are burnt up by the light rays of his Body, Speech, Mind,

KHYIM ' DUR -thereby the three worlds,

PHOGS-SE -become purified of all suffering,

SPUNGS-SE (RAM) -and by his power and blessings,

GE-KHOD -all demons (bdud) are subdued.

SPONGS-SE (RAM) -They are purified (and burnt up) by his power and blessings,

U-RAM -by way of the Wisdom Meri aspect, the Dharmakaya,

KU-RAM -the Apparitional Meri aspect, the Sambhogakaya,

YE-RAM -and the Compassion Meri aspect, the Nirmanakaya,

HRI RAM RAM -(bija-mantras for Meri).

As said, the seed-syllable RAM represents the fire element and its powers and qualities, including purification.

According to the instructions describing the visualzation practice texts (mngon-rtogs) found elsewhere, the bija-mantra, or seed syllable, for his peaceful aspect Atimuwer is the white letter A and for Kuji Mangke it is the greenish-blue syllable OM. For the two consorts of Meri, the bija-mantras are MUM for the red Drol-yum Ödlayma and SRUM for the yellow Jyor-yum Nelay Sidpai Gyalmo. The bija-mantras for the Ten Wrathful Deities in sexual union forming his retinue in the ten directions are HRI for the males and RAM for the females. Each of these ten couples has two attendents, male on their right side and female on their left side. The bija-mantra for the ten male Summoners is DZA and the that for the ten female Slayers is RAM. The bija-mantra for the Four Great Champion Gate-keepers is BHYO (pronounced jhyo).

Lineage for the Practice of Meri

As said, the lineage for the practice of Zhang-zhung Meri is practically identical with that of the Zhang-zhung Nyän-gyud, beginning with the Primordial Buddha:

3. The Teacher who is an Emanation, the Nirmanakaya aspect Shenrab Miwoche
(sprul-pa’i ston-pa gshen-rab mi-wo-che),

4. Atimuwer (a-ti-mu-wer),

5. Kuji Mangke (ku-byi mang-ke),

6. Walchen Gekhöd (dbal-chen ge-khod), and

7. Sangwa Düpa (gsang-ba ‘dus-pa).

And then it passed through the line of Twenty-Four Masters, divine and human, who are known as august persons (gang-zag nyer-bzhi), eventually coming down to Tapihritsa and Gyerpung Nangzher Lödpo in the 8th century CE..The Texts for Zhang-zhung Meri

The Gekhöd cycle of practice is based on five Tantras dealing with this deity. They are known as the bDud-‘dul ge-khod kyi rgyud lnga. [13] It is said that these Tantras are among the eighty-six great Tantras and the three hundred minor Tantras brought from the nine-storeyed Swastika Mountain (g.yung-drung dgu brtsegs) in Tazig or Central Asia to Zhang-zhung. These Tantras are not at present available in the West and, in any event, according to Yongdzin Lopon Tenzin Namdak, those that are found in the Bönpo Canon recently published in China are not complete. Neverthelss, from them the ritual text entitled Ge-khod gsang-ba drag-chen was compiled in the 15th century by Je Rinpoche Sherab Gyaltsän (1356-1415), the founder of Trashi Menri monastery. [14]

The three Tantras of Meri (me-ri rgyud gsum) are also included under the rubric of Gekhöd in this classification of the five gSas-mkhar, or divine citadels. According to Shardza Rinpoche’s Legs-bshad mdzod, the Me-ri rgyud gsum were transmitted from Tönpa Shenrab to his contemporary, Tride Chagkyi Jyaruchän (khri-lde lcags kyi bya-ru-can), who was the first monarch in the earlier dynasty of the kings of Zhang-zhung. [15] Eventually from him this came down to Tsepung Dawa Gyaltsän in the 7th century, so that this transmissioin lineage became the same as for the Zhang-zhung Nyän Gyud. These latter were included among the most important texts of the three hundred and sixty texts of Zhang-zhung Bön, which the Tibetan king Trisong Detsän promised not to suppress when he was subdued by Gyerpung Nangzher Lödpo. Thus, the transmission lineage for Meri Bön came down to Pön-gyal Tsänpo, whereafter it divided into the Upper Transmission and the Lower Transmission and then united once more in the 11th century through the efforts of Yangtön Sherab Gyaltsän and his master Orgom Kundrol. [16]

In Tibet there exist two traditions of teaching relating to Gekhöd and Meri:

1. Kama (bka’-ma)—the continuous oral tradition (later written down) and descending into our own time in company with the Zhang-zhung Nyän-gyud; and

Both of these traditions are found represented in the collections entitled the Me-ri sgrub skor and the Ge-khod sgrub skor, that is to say, in the sadhana cycles of Meri and Gekhöd respectively. These two collections have been published in India byYongdzin Lopon Tenzin

Namdak for the Tibetan Bonpo Monastic Centre. [17]

Outline of the Sadhana Text

The intermediate length sadhana (sgrub-pa), or practice text, known as “The Sadhana Practice for the Single Mighty Phurpa of Gekhöd Meri” (ge-khod me-ri gyad phur gcig sgrub bzhugs-so)” is found in the collection of the propitiatory rites cited above. [18] It consists of a short sadhana for daily recitation and includes the invocations of, meditation upon, and propitiation of the meditation deity Zhang-zhung Meri. The text also states that this practice was followed by Ligmincha, the king of Zhang-zhung. The sadhana text is divided into the following sections:

0. Preface,

1. Securing the Boundaries (mtshams bcad-pa),

2. Invocation of the Wisdom Deities (ye-shes spyan-‘dren),

3. Doing Homage (phyag-‘tshal),

4. Request to be Seated (bzhugs su gsol),

5. Confession (bshags-pa),

6. Offering the Symbolic Form (phyag-rgya’i mchod-pa),

7. Five-fold Puja Offering (mchod-pa rnam lnga ‘bul-ba),

8. Offering of Medicine (sman mchod),

9. Receiving of Siddhis (dngos-grub blang-ba),

10. Offering of Meat, Blood, and Bones (sha khrag rus-pa’i mchod-pa),

11. Offering the Ganapuja (tshogs ‘bul),

12. Aspiration Prayer (smon-lam),

13. Recitation Aloud of the Mantra (dzab grags),

14. Hymn of Praise (bstod-pa), and

15. Dispatching the Torma Offering (gtor-ma btang-ba).

The Practice of Sadhana

Each Tantra cycle has a chief Yidam meditation deity and each Yidam has its own system of practice. Moreover, each Yidam has a root sadhana (rtsa sgrub) that is necessary for the entering into the cycle of practice. It is said that to realize the fruit of the tree, it is first necessary to sow the proper seed. According to the instructions of Yongdzin Rinpoche, [19] before beginning, it is also necessary to examine and cultivate our motivation for the practice by way of the four meditations that change one’s attitude (blo-ldog rnam-bzhi), and to do so without error or mistake. Then we may engage in realizing the Natural State and compassion. The basic text here is “The Essence of the Mind of Zhang-zhung Meri” (zhang-zhung me-ri snying-thig), which represents the shortest form of the sadhana for Meri. All of the Twenty-Four Masters did the practice of Gekhöd-Meri, but they practiced Tantra largely as a supplement to Dzogchen practice, and did so mainly for the benefit of others. In addition to the root text and the extended texts of the sadhana, there are auxilliary texts for fire puja (me-mchod), protection rites (srung-ba), rites to avert negative influences (zlog-pa), long life practices (tshe grub), propitiation rites (bskang-ba), confession (bshag-pa), empowerments (dbang-bskur), and so on. Detailed instructions describing the procedure for the visualization are given in texts known as Ngöntok (mngon-rtogs), literally “clear understanding.” At the beginning one does homage with one’s body, speech, and mind to the Gönpo Namsum, or Three Lord Protectors, namely, Atimuwer, Kuji Mangke, and Zhang-zhung Meri, and to all the lineage masters. Then we may engage the visualization process, or Kyerim (bskyed-rim). Here, as pointed out previously, the peaceful form in relation to Meri, the sage Sangwa Düpa, is explained first. Then after this peaceful form dissolves into light, the seed syllable HRI in one’s heart center transforms into the wrathful aspect of Zhang-zhung Meri.

First we must purify ourselves and everything else into the Basic Nature in terms of the three samadhis, or contemplations. The Natural State has no beginning and no end; it is not born and it does not die. It is in no way distracted. All visions come from this Nature and, therefore, all phenomena are primordially pure (ka-dag). This Nature represents emptiness, clarity, and their unification. This realization of the state of Shunyata is the first samadhi and we practice until we have become familar with it. Otherwise, if we go on to the second samadhi, which is compassion, there will be no proper result. We do this in terms of cultivating the four immeasurable states (tshad-med bzhi) and reciting the text for this. Thus, we must integrate the Natural State with compassion and these four immeasurable states. We practice them individually at first until we can think compassion without this thought disturbing our Natural State. Thus we integrate them. Then we are ready for beginning the transformation.

When the unification of the Natural State and compassion are clear and stable and do not disturb each other, then we visualize their unification as the seed syllable. Now all phenomena appear from the Nature to be like reflections on the water. Even the mandala and the deities we visualize will be like reflections on the water; they are only empty forms and illusions, having no inherent existence. Therefore in sequence, we practice being in the Natural State, we meditate upon compassion, we integrate them without disturbances, and finally all phenomenal existence appears as empty forms. These all represent preliminaries and the beginning of visualization, according to Yongdzin Rinpoche’s instructions. The details for the visualization process are then found in the various texts of the Ngöntok section.

In terms of Dzogchen, finding oneself in the Natural State represents the principal practice and that is sufficient in itself to attain liberation and enlightenment. However, we also find ourselves in this relative condition in this present life and Tantra provides many practical methods which may prove useful in dealing with our circumstances. From the stand point of Dzogchen, all of these represent secondary practices. But since Dzogchen is without any limitations in itself, it may utilize any of the methods of Sutra and Tantra that would prove useful to the practitioner, such as the invocation of and the meditation upon Zhang-zhung Meri.

[Extracted from The Cult and Practice of the Bönpo Deity Walchen Gekhöd, also known as Zhang-zhung Meri, by John Myrdhin Reynolds, forthcoming.]

The Chapur family have been lineage holders of this Yidam since the very beginning of their recorded family history.

Here is a short description of Takla Mebar:

In order to overcome negative forces and the personal, negative emotions and obstacles they create, Tonpa Shenrab Miwo manifested as Takla Mebar (Flaming Tiger Deity) and subjugated those evil forces through his compassionate wisdom mind, transforming them into compassionate and peaceful beings.

Takla Mebar Healing heals the outer poisons and negativities, by transforming them into Wisdom and positive aspects, as well as the inner negativities. These are transformed into the clarity of the five wisdoms (wisdom of emptiness, mirror-like wisdom, wisdom of equality, discriminating wisdom, all-accomplishing wisdom).